9 to 5: The Musical — A Riotous, Rollicking Night at the Office

There is something electric about the Grand Opera House when a local company takes to its stage with the energy and polish of a professional touring production. On opening night of 9 to 5: The Musical, presented by the Ulster Operatic Company, that spark was undeniable from the first beat. Before the lights even dimmed, the Belfast audience was buzzing, and from the moment the curtain rose, the house was alive with cheers, claps, and laughter that never once faltered through the night.

As a performer with over twenty years in theatre, I have seen my fair share of musicals, yet 9 to 5 was new territory for me. I went in with no preconceptions, apart from the obvious association with Dolly Parton’s iconic soundtrack, and left completely won over by a show that is bold, brash, hilarious, and surprisingly heartfelt. It was also a pleasure to see so many familiar faces among the cast, people I have shared the stage with over the years, and to witness them thriving in such a vibrant production filled me with pride.

The Story and Style

Based on the 1980 film, 9 to 5 follows three women who decide to turn the tables on their sexist, egotistical boss. It is a classic tale of empowerment, wrapped up in outrageous humour, 80s flair, and toe tapping tunes courtesy of Dolly herself. What makes this production special is how Ulster Operatic Company has managed to blend slick musical theatre storytelling with a homegrown warmth that feels perfectly suited to Belfast.

The opening number immediately set the tone. A clever staging featured a literal bed at centre stage, a cheeky “guy with wood” moment (one for the boomers perhaps), and some wonderfully tight harmonies as the ensemble brought morning chaos to life. There is even a shower scene and a breakfast sequence with a man weeping over his cereal, proof that this show wastes no time in making us laugh while setting the scene for its busy, bustling world.

The Cast: A Powerhouse Line Up

Leading the charge as Violet was Liz Wilson, a powerhouse performer who commanded every scene with sharp wit and a voice to match. Wilson captured Violet’s strength and frustration beautifully, balancing authority with comedic timing that landed perfectly every time.

As Doralee, Niamh McAuley was the night’s comedic dynamo. Channeling Dolly Parton’s charm and fire, she delivered her lines with impeccable timing and a wink to the audience that made her instantly lovable. It is no small task to step into the heels of a country legend’s character, yet McAuley made it her own, bright, funny, and full of heart.

Aideen Fox as Judy was a revelation. Her journey from shy newcomer to confident, independent woman was wonderfully played, and her vocals soared during her solo moments. The chemistry between Fox, Wilson, and McAuley was the production’s heartbeat, their trio moments, especially the number “I Just Might,” were tight, tender, and brilliantly sung.

Samuel Moore as Franklin Hart Jr., the loathsome boss, was every inch the sleaze, delightfully despicable and unashamedly over the top. His physical comedy and facial expressions were priceless, making him both the villain we love to hate and the source of many of the evening’s biggest laughs.

Adding to the mayhem was Serena Smart as Roz, who nearly stole the show with her hilarious portrayal of Hart’s infatuated assistant. Her big number was an absolute showstopper, full of personality, punch, and perfect comic timing.

Special mention must also go to Mark Comer (Joe), Sean Harkin (Dwayne), and Karen Hawthorne(Maria), who each brought warmth and charisma to their roles, and to the wider ensemble, one of the largest I have seen on that stage in some time. Their energy filled the theatre from the stalls to the gods, and their dancing was nothing short of breathtaking.

Production, Choreography, and Design

What struck me most was how busy this show felt, in the best possible way. Scene changes came thick and fast, with the stage constantly transforming thanks to slick direction and a hard working backstage team. From office desks to fantasy sequences, the production never stood still, and the transitions were handled with impressive precision.

The choreography was a joy, playful, bold, and full of surprises. One standout moment saw the men dressed as women and women dressed as men in a riotous dance sequence that had the audience howling. The “three dreams” sequence, in which each of the leading ladies imagines their revenge on the boss, was another highlight, three totally different moods, three mini musicals in one, and all brilliantly executed.

A few minor mic issues briefly interrupted the flow in the early scenes, but they did little to dampen the energy. The orchestra was tight, the harmonies rich, and the musical direction strong throughout. Dolly’s signature blend of pop, country, and musical theatre flair translated beautifully live, familiar yet fresh in the hands of this talented company.

A Naughty Delight

What I had not expected was how cheeky 9 to 5 would be. It is far naughtier than its reputation suggests, peppered with innuendo, outrageous physical comedy, and a few eyebrow raising moments that had the Belfast crowd in stitches. Yet beneath all the laughs lies a message that still resonates, one of equality, friendship, and empowerment. The Ulster Operatic Company balanced these tones perfectly, delivering a show that is fun, fearless, and full of heart.

Final Thoughts

Walking out of the Grand Opera House, I could not help but smile. This production of 9 to 5 is everything you want from a night at the theatre, laugh out loud funny, musically satisfying, and visually vibrant. It celebrates community theatre at its finest, with performances that would hold their own on any professional stage.

As someone who has lived and breathed theatre for over twenty years, I found this show a reminder of why we do it, the joy, the camaraderie, and that magical connection between stage and audience. The Ulster Operatic Company have delivered a dazzling, crowd pleasing hit, and I would recommend anyone in Belfast to clock in for this shift.

Verdict:

⭐️⭐️⭐️⭐️½ — A joyous, high energy, and cheekily empowering night at the theatre. A triumph for Ulster Operatic Company.

Get your tickets now via GOH.co.uk

Reviewed by Daniel May, Editor of GNI Magazine

Grand Opera House, Belfast – Presented by Ulster Operatic Company

Images by Nicola McKee Photography